A significant part of pop culture has always come from remake and reinvention. Ask Madonna about Marilyn and Lady Gaga about Madonna. Or question The remaining Beatles about Little Richard. How about Steven Spielberg, Martin Scorsese and Francis Coppola on Akira Kurosawa? Perhaps Brian DePalma vis-a-vis Alfred Hitchcock or Quentin Tarantino re Sergio Leone.
We all have our influences (and not all of them are good). One can’t help but be affected, consciously or not, by what has come before. In fact, even when you’re not appropriating, copying or paying homage it is likely the purely original idea you came up with has been done in some related form by someone else you don’t know about who is not you. As I’ve learned in therapy and in life, we human beings are individually unalike and yet collectively more similar than any of us suspect – or even want to admit. No wonder someone long ago – and probably long ago before that – said there is nothing new under the sun.
…It has come to my attention this week that we are drowning in… how can I say it… an unreality of make believe. This is not about remakes of endless superhero movies; the faux presidential daily vomits of The Republican Apprentice; or even the film version of one of the world’s most profitable gaming apps of all time – The Angry Birds Movie – debuting at THE #1 position at the box office this weekend. Nor is it about it achieving a B plus Cinemascore – which puts it far above the average college or high school graduate these days.
Instead, it is about a chipping away of the real. It concerns us not being able to separate the world of make believe and pretend with what really was or is – even when the truth is right before our eyes.
NBC’s The Voice – one of my favorite TV shows and one of America’s top 10 faves (Note: Clearly, I’m not the only one who fantasizes being a diva) – had a special event planned for its Tuesday finale show. And this would be a long planned duet between one of its star judges, Christina Aguilera and…WHITNEY HOUSTON. No really. They were going to duet – as in together sing – a melody of two of Ms. Houston’s most famous songs. At least that’s EXACTLY the way it was being billed.
Yes, Ms. Houston did die more than four years and no, NBC has not made a deal with some 12 year-old prodigy who has figured out how to raise a living version of our most lauded dead. Well, not exactly. What did happen is that a 35 year old Greek billionaire and his ironically titled company, Hologram USA created a an image of Whitney Houston singing her signature I Have Nothing song and it was to alternate with Christina Aguilera singing I’m Every Woman. Unfortunately – or perhaps luckily – the duet was given the kibosh at the last moment by the Houston estate, which noted that with artists of the caliber of Ms. Houston it must be perfect and apparently it – was not. Of course, what it really IS – that’s anyone’s guess.
Since writers are sticklers for a certain precision of words and/or language, may we be precise here? The planned performance was not an event television live duet between a living songstress and a deceased one. That is impossible. Instead it was an engineered medley between a flesh and blood person and an image/recording of a dead one.
A living thing cannot be real simply because we wish it to be so.
In the same way a lie cannot be true merely because we have chosen to think otherwise.
This is particularly important to remember in the 2016 election year – or for that matter any other year.
Engineering the past is a tried and true position every writer takes whenever they sit down to the page and come up with any story that is even vaguely personal. As artists, we tell a story and often that involves rewriting what is to a version of what you would want it to be or fantasize it was or could be. But it is sold as such – a fiction – an invention – it is not oddly positioned as some sort of 21st century – reality.
HBO debuted a very fine movie this weekend about the uneasy alliance between Pres. Lyndon Johnson and Dr. Martin Luther King’s fraught collaboration to pass civil rights legislation in the 1960s entitled All The Way. While it is a bit odd for us baby boomers to watch Breaking Bad’s Bryan Cranston pretending to be the drawling Texas president we remember as children it was also just as strange to view The Hurt Locker’s Anthony Mackie saying made-up words in the cadence of a civil rights leader whose dulcet tones we can still recall in our mind’s eye all those years ago.
However, this has always been what film and television is about – an acted rendering of a version of reality. It’s not as if we’re watching current Pres. Barack Obama having a conversation with Dr. King and HBO advertising to the public that it is actually happening. Or that ABC has a Diane Sawyer special booked where she will indeed interview the late Pres. Johnson on what it was like fighting the powers-that-be in the first year of his presidential administration.
It is this next, not so subtle step in blurring the lines with a hologram that is not only a bit creepy but more than a bit dangerous. It’s one thing to attend the Mr. Lincoln exhibit in Disneyland but it is a whole other version of the stars and stripes when the world begins to think that it just spent 15 minutes with the most lauded and perhaps famous member of the centuries old Republican party. At that rate, one day we might not be able to recognize the grand old party or even its next president – or proposed president. Because by that time everything will be its own custom-made Disneyland – and carry as much truth as any image from Hologram USA.